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10 O·1 Jazz,Licks
A Complete Jazz Vocabulary for the Improvising Musician
by Jack Shneidman
VUS( (OUl'A1"f
INTRODUCTION
The jazz lick is one of the most important tools of improvisation. In addition to a thorough knowledge of
chords and scales, all the great jazz players have a large vocabulary of these short melodic phrases, which
they incorporate in their improvised solos. The jazz player uses licks the same way we use simple or
common phrases in speech. In short, licks are basic musical statements an improviser calls upon to meet
the musical demands of the moment.
With this huge book in your hand, you might be asking yourself, "Where do I start?" Well, it's helpful to
notice that this book is divided into three main sections: Essential Licks, Stylistic Licks, and Licks over
Standard-Type Progressions.
Essential Licks (licks l-560) is comprised of licks that are played over either a single chord, a standard
harmonic progression, or a particular mode. All the licks are written in the key of C. In the case of licks
that are based on modes, the key signature of the parent scale is given. For example, all C Dorian licks have
the key signature of Bl major, because C Dorian is the mode built on the second scale degree of the Bl
major scale. C Lydian, to name another example, is built on the fourth degree of the G major scale
therefore it will bear the key signature of G major.
Stylistic Licks (licks 561-800) is based on the idiomatic traits of different eras in jazz history. For example,
the licks from the swing era resemble the work of master tenor saxophonists Lester Young, Coleman
Hawkins, as well as the great guitarist Charlie Christian. The licks from the bebop era are based on the
styles of saxophonists Charlie Parker, Sonny Stitt, and Sonny Rollins, the pianist Bud Powell, and
trumpeters Dizzy Gillespie and Clifford Brown. Some of the players representative of the hard bop era
include pianists Horace Silver and Bobby Timmons, tenor saxophonists Hank Mobley and Dexter Gordon,
and trumpeters Kenny Dorham and Blue Mitchell. The licks in the post bop section pay homage to the
harmonically advanced sounds of tenor saxophonists ' John Coltrane and Joe Henderson, pianists McCoy
Tyner and Herbie Hancock, and trumpeters Freddie Hubbard and Woody Shaw. All of the harmonic
progressions that are utilized in this section are standard progressions. The remainder of this section (non-
harmonic, and fusion/funk licks) demonstrates some of the intervalic and harmonic concepts of today's
greatest contemporary jazz musicians. These include saxophonists Dave Liebman, Michael Brecker, and
Kenny Garrett, guitarist John Scofield, and pianist Chick Corea.
Licks over Standard-Type Progressions (licks 801-1001) is comprised of licks played over the opening
four bars of twenty standard-type tunes. These phrases feature a wide variety of harmonic progressions,
some different time signatures ( f and t ), and some material that has a Brazilian or Afro-Cuban flavor
("New Bossa," and "Night under Anesthesia," respectively).
All the licks in this book have chord symbols above them given in their most basic form (only the root
and the chord quality are named). Some of these licks are very advanced and include a liberal usage of
chromaticism, substitute scales and modes, implied passing chords, and entire cycles of substitute
harmonies. Don't let this intimidate you; the logic and expressive options they offer will become clearer
with time and a little patient study.
How TO USE THIS BOOK
This book is not meant to be read through from cover to cover. It is recommended that you devote a
concentrated amount of time and study to mastering major and minor ii-V-l's: These progressions are the
basic building blocks for numerous jazz standards. Do not feel the need to master each individual lick,
find the ones that you like and focus your attention on them, concentrate on what is immediately valuable
to you. Once you have comfortably learned one of the licks, transpose it to all of the remaining eleven
keys. Try to find different ways for the lick to begin or end and experiment with different phrasings and
articulations.
1001 Jav. Licks is written with the idea of giving you some insight into the melodic vocabulary of jazz
and broaden your awareness of the harmonic possibilities available. All of this is in hope of helping you
to cultivate your own, unique sense of melody and harmony. Have fun!
Acknowledgments
I would like to thank my editors, Arthur Rotfeld and Toby Wine, for their vision, profound knowledge,
and patience. Additional thanks go out to Nick Trautwein and Cherry Lane author Joe Chawpakom.
Finally, a very special thanks go to my friends and family for their unyielding support.
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Major 7w .................................................................................................6
Minor 7w ............................................................................................... lO
Dominant 7m ......................................................................................... 14
ii-V-I ..................................................................................................... 18
ii-V-i ..................................................................................................... 28
ii-V-I-VI ............................................................................................... 36
ii-V-i-VI ............................................................................................... 40
I-VJ-ii-V ............................................................................................... 44
i-VI-ii-V .............................................................................................. .48
Dorian .........................................,......................................................... 52
Lydian .................................................................................................. 54
Phrygian ............................................................................................... 56
Aeolian ................................................................................................. 58
ii-V-1 with Coltrane Substitutions ...........: ............................................ 60
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s4o f ~1'6JJqJ!J Ji □ & □ J i ► t: rrfMt:f G1[ f r ► w JJ3 i#J J:; dqJ JJ311 :J
Dm7 Eb? Abmaj7 B7 Emaj7 G7 Cmaj7
547 • ., oo 1r F'L r lb4D 3:i aid Ji~ l#J □ ,J;g ~j•.l &J#J i .J JJ ) ,J I
Dm7 Eb7 Abmaj7 87 Emaj7 G7 Cmaj7
549 4r r r r 1
551 ' J
J 1'j C f f r I~J JM JJ J I1J iJ fil #J 1J ~J ~ ~j IfJ J. I
552
556
C6 Dm7 07
563 ,, t □ ) fr r r ir G2r - II
C6 Dm7 G7
564
Dm7 G7
C6 Eb 0 7 Dm7 G7
C6 Dm7 G7
569
C6 El, 0 7 Dm7 G7 C6
E1f C F Pf 1'r r c Pf If #r f r t f f r Le f jr F-
1
572 ' C I
C6 m 0
1 Dm7 G7
514 , J J a J· r w kr J 1 ., a= aJ □ J □ q
3 1 r r' r ·r 11
C6 Eb 7 0
Dm7 07
575 4., J~J J ] □ .F] IF r cr J;J~j JlqJ I Ji] J3IC FE!F f Fir rtr
C6 Eb 7 0
Dm7 07
C6 Eb 7 0
Dm7 07 C6
577
C6 Eb 0 7 Dm7 07
C6 Eb 7
0
Dm7 07
581
G6 C6 G6 Bm7 E7 Am?
582
G6 C6 G6 Bm7
.E7 Am?
G6 C6 G6 Bm7 E7 Am?
fJj J J
C6
J Iv J J1J ...,
G6
1, ~ ,. J Jit E ~
Bm7
IE qr r: y-1l J.
E7
II
G6 C6 G6 Bm7 E7 Am?
588
G6 C6 G6 Bm7 E7
'"' .
589
G6 C6 G6 Bm7 E7 Am?
591 41
, ;~fi"3 #n., Ji IJi~#n ,,r_,r I{] Ji@#n., ;~ I;i@#n, r· I JJ
'--3__J
G6 C6 G6 Bm7 E7 Am7
593 ,• "E F flr#r,t r 1.1 JJJ;;i 1 1, ,N2£ff Fer I J J1J 13#J JJJ!J
3
G6 C6 G6 Bm7 E7 Am?
594 4 r If
1
t l'#tac.f!Cfr1JJJJjr It j'p,C'Fllt
G6 C6 G6 Bm7 E7 Am7
G6 C6 G6 Bm7 E7
G6 C6 G6 Bm7 E7 Am?
G6 C6 G6 Bm7 E7 Am?
w,,~n
G6 C6 G6 Bm7 E7 Am7
soo 4 t u cl~(Ct'1J
1
.J JJ#c crt 'Er, µ , ,, #n 'I
Gmaj7 . Gm7 r-,,,.._ C7 Fmaj7
'#
Gmaj7 Gm7 C7 Fmaj7
Gmaj7 Gm7 C7
' 606
,, Gmaj7
Tr D~F
C7
r I t t r trtr
!.
Fmaj7
~, ....
Gmaj7 Gm7 C7
614
615
C7 Fmaj7
617
618
620
Fmaj7 Dm7 Gm7 C7 Am? D7 Gm7 C7
I 625 ,~ r Fmaj7
LJ ~
Dm7
E E i 'r
Gm7
tr·r
C7
~·
Am7
f 1J .J f
D7
~
Gm7
1J o·r
C7
629 '' I
Fmaj7 D7 i'Gm7 C7 Am7 D7 Gm7 C7 Fmaj7
632
~ ITT ~ □ ~ ITT ~ □ ~
634
~ ITT ~ □ ~ ITT ~ □ ~
642
644
645
648 4•"• •JJS □ ]J'd 1J,:lj 1J{]JO l"@fY Cf F'F I[ ft~r#.tr- IIF
Ebmaj7 G7 Ab7 G7 Cm Cm/Bb Am7b5 D7 Gm7
3 5
Ebmaj7 G7 G7
3 3
~·~''& ., 3
Jj HJ .J J r·
•
J1 1J
3 3
J J J J J J .J d J 11 J
Ebmaj7 G7 Ab7 G7
Ebmaj7 G7 Ab7 G7
,
11
·, • -.;~,Cf rt f ctr E'E I" I e1c1cr'r f fl ( 1a er (f j
t Err- ·pc r r o,
Cm Cm/Bb Am7b5 D7 Gm7
~ 1
'• [ 1, P 1i' J pJ ~ □ J J 11 w 3
Ebmaj7 G7 Ab7 G7
~ &I'!, - r F F ,t t t J~ I
• --=-------
3
Ebmaj7 G7 Ab7 G7
656 t£1, J J
,a
,~l'I, t
-J
J J #J=JJJJ
------ ID ~l )1 qJ. IIM:J J
Ebmaj7 G7 Ab7 G7 Cm Cm/Bb Am7b5 D7 Gm7
Ebmaj7 G7 Ab7 G7
Ebmaj7 G7 Ab7 G7
3
f r -- r F ~r r r
5 ~ J J ~w ~t21
659 t~I'!,
3
J It t
,~,'!, E Cm
~ E ~
Cm/Bb
e7Fl) £ J 1
Am7b5
fE73F £ J ~Ji
D7
r II
Ebmaj7 G7 Ab7 G7
Cm Db7 Cm
664
665
3
f; c Er tr
667
668
669
670
671
672 JJj J J J
D1>7 Cm
Cm
D1>7
'~1.,) ~r>
c__3____.J
675
676
J J J J J O IJ
Cm
~ i'1, 3/ Ji .;
Cm 3
►~ It Ctr F•c3 3
h:t"" J J J
□ 11J
3
D~7 Cm
C'C Et r F E r 1J J J #J J qJ j j
1
~~ '1, t 1
II qJ
Cm
,► '& ., p ,. J J J J 1j i.J J j J gJ
J j
~ EJ
3
Cm Db7 Cm
, r u ., 1r n , r u , P1r fJ w
P 1, w □ J11 w J1
Dm7
Dm7
Dm7
686
687
688
Dm7
689
Dm7
690
. 691
692
Dm7
693
Dm7
694
695
Dm7
Dm7
Bbmaj7#1 l Am?
Bbmaj7#1 l Am?
Bbmaj7#11 -- Am?
706 ' 't.rJ r'c Ef 1Er EI[ Per IrC ff#t:iE r! If f rE'J J j] I JJl
10a ,r t"trlr B brnaj7# 11
t
Arn?
Bbrnaj7# II Am7
Bbrnaj7# 11 Am?
112 ~,.,
3 3
ffC t;,. etc FTL d [blcE r U
3
I
Bbrnaj7#11 Am7
718
Bbmaj7#ll Am7
~
719
720
721
722
723
724
725
727
728
729 4'po JJ JJ i.J•{ld•JJ1J1J idd .l1Jid J JJI Frff crclf 111
730 f crl•r r&cqE''Eijr ,&r r~rijr&r r r:~r i&r r r:&r cr•r:&r icr&rtr J1, □ Mwi II qJ
731 4_-, M'r r'r rIt 'Pr f 'E Cr rIJ J] Jd JdJ I,J J.] J j j
732 ' 'fP ,lJ jJ l,(J □ iJ .f] JP If1cE n•r Ef 1°f'r ff Er p'fii lE
733
. 735 ' "p I#filJd]fl JIJ IJJiJJ 1r#r'ff 1tfr!r1ll tf lt'f E; rrtf11f
736 ' r•crtr r'f r'r Ir'c'c,orqr\ft l't r'Ei fl r•r Ic't el etc fi11
737 4r'r '[J#f: Fr rIrr [JPc'PrI 1ir'E E± cf r f Ic'Pd&df tr 1
1 1
11
738
740 ' dJL-l J'p f l'T IC CrJT•c rbr ICir rbr r1rCf lbE (\Pr C!'r I
744 ' ¥ J JJ,J .J J J I&J a&3 J&J HJJ I,J .J JiiJ ijr r#r f I!'[ FF~i J I '
•
748 ' j JJ,J .\JJJ il □ ;J,i fj3 Ji] l~JiJ,J ~#.fJ J;J 1,J;J1J J•r ►r er I
749
751
EC11
~
754
. 755
'
.
f r: r F#f #
.
E 1
756
758 4 I
759
II
II
,#, f [ ~ 1~
I.
1 J) J J If r=J
~· ·r ~ ~ ~ j II
773
07
774
1
, # 95 F ., r r , 1 , t !; ··r
775 4#1
q j J'.J1tl JO rcl,E/
D7
776
II
777
D7
779 ,,#
D7
780
781 J?J .. d J J w 1 13 I
Fl
782
Fl
783 (!'rjf
,► cr
Fl
784 f [ Cf I
F7
~
Jbbi f 1't of It - Lqr I,~ J d~ j I
r- "E 4
-E::t' - ~ I y 'fr CrPc rr•JO JO Hin
F7
788 ' b' J5] ] CC 'f r~c &E f 1'r qJ J j JI~w j 59 t □ 9ij J J cI,r: 9r r,, 1'r-~r:-hr-br~ :I
1
@
11
F7
790
791 ,i c/Ut Pc r'h r r
F7
1
[
1
, ¢ 1f1c~r•r CE•c r r Pr r'E EcT i
,&r f qc f bC h: Cr qr
Etic rt ~
1° II
792
II
793 'i F7
II
It f
1
C I
795
F7
F7
F7
II
F7
800
Cm7 Fm7 Bb7 Ebmaj7 Fm7b5
801
809 ! • p le f ( rctrrrE-:
1
816 ,~. rtrirrt rt 11ct r#@a; □ 1J1J Hr 1 P1•r ·r r'r rIE f11
1
818 •••u ,'Qt[ Ef I'[ Pnr•c 1Ef f Ifc1c rr I Ir•rr L'p ;J. I ,
Em7 A7 Fm7 Bb7 Ebmaj7 Abm7 Db7 Dm7
F
Ebmaj7 Abm7 Db7
fh
3
822
825
826 ' ~I, [#r EF &I II ., p'L rrf Ibr er rrf Er IJJ#JJ. c.r Fr I a
827
828
829
I 'plflr r:cFr1tcic;,Ltr;11ccEftr1
Cm7 F7 Bbmaj7 Ebmaj7
830 '1'u1 I
Fm7 Bbm7 Eb7 Abmaj7
t
,,b1• - LLT If[ fr@ ,1Jl IC CFbft1cEh f fr n:brr rI F
Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7
837
838 ,,
11• u •Pu• P11 Err rrEI Icc rbr ct:U 1Ir 'lb~b~t 11tr
Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7
840
Cm Dm7b5 07 Cm Dm7b5 G7 Cm
Cm Dm7b5 G7 Cm Dm7b5 G7 Cm
,J-,
Cm Dm7b5 G7 Cm Dm7b5 G7 Cm
Cm Dm7b5 G7
Cm Dm7b5 G7 Cm
Cm Dm7b5 G7 Cm Dm7b5 G7 Cm
Cm Dm7b5 G7 Cm Dm7b5 G7 Cm
84 8
1
, ~' 1• * , PEr r r ,., r ~ijc E!r Ir f 1
1
Cm Dm7b5 G7 Cm Dm7b5 G7
Cm Dm7b5 G7 Cm Dm7b5 G7 Cm
1
~& '&&~ r tr "C r 1( Ce&r o.f., vI~ r· ~Dr· lbF qr CJ~~ r· I
Ebro Bb7 Ebm7 Ab7 Dbmaj7 Gb7 Fm7 E0 7
1
' ~ ·&~~ rLrf F f FICr Err EFr Ip J
Mr f qr r r I r .g ~j r. I
B59 '&I\&& 1 U t f r~r IE:'E E!~r fMr r11,EJ r~c&C F'F If r Frtx-M,-&rt I
Ebm Bb7 Ebm7 Ab7 Dbmaj7 Gb7 Fm7 E0 7 E'7m7
860 '1'•,,11 FCr!r r c'clr 11J J£Yr r Er IJ}j gg,.i JJ) lie Etf Prlr:r I F
861
,cent'
869
Cm6/9 Gm7 C7 Fmaj7
871 'ibb JJJ JJ1 JJlWJ Jj_JJ JJ Ij JJJ F.P I•1J. J 1JJ!J
012 4~ 'li
1
'¥ JOP c: r rrIE r er u, PI crqr: -0,
Cm6/9 Gm7 t7
11
Cm6/9 Gm7 C7
876
Cm6/9 Gm7 C7
877
878
Cm6/9 Gm7 C7
879
3 3 3
Cm6/9 Gm7 C7
881 4±t2 ti t y
D 1fr_f t
., p llt l y
p lhtf-t 1,J 11J
Bbmaj7 07 Ebmaj7 G7 Cm7
882 t ,uu~u11tr
Bbmaj7 D7 Ebmaj7 G7
883 i~ '1 JO ti U
1
ILJ B #J? ILJ fO J 11,J t JJ II
004 ,~ '2r
1
er u 1r ocu 1J 1
O r 1:ra8u u 11r
Bbmaj7 07 Ebmaj7 G7 Cm7
r--4------,
885
88 1 4,b 1b rr fr Ur cr fr Fr rt n 1 1 1
, Lr•u t 11
F7 Bb7 F7
893 '~
F7 Bb7 F7 Bb7
~ ~ ·~
894 @ ~ "I J W J JJ .J JJ). l,,crj W 1-t J .J J j J .J J Ir FfIT. C [j 11 ~ ~
F7 Bb7 F7
1
,, #rff=Ef ctr IE Cc\Pr Ccur PEI EE rrIfr c(faf!tJ II{]
F7 Bb7 F7 Bb7
1
896
F7 Bb7 F7 Bb7
897
898
F7 Bb7 F7 3
900 , ~ ur r 1
J qr ,.J #J wJJ
I n 1, ; ~; Jo ,n ,Ji 1; 50,D~J 11
Cm7 Fm7 Dm7~5
901
902
903
904
905
906
909
911
916
Cmaj7 Cm7
917
Cmaj7 Cm7
922 l
Cmaj7 D7
. Dm7
923 f ff rF U E[ I£ fr f f EU IM- P# □ - Ip J. r· J) I fJ
Cmaj7 D7 Dm7
Cmaj7 D7
Cmaj7 D7
932
934
935
936
937 1
•, C #~Ir [ fI f
Bmaj7 D7 Ebmaj7 Am7 D7
938
939
940
Bbmaj7 Eb7 Ab7 G7 C7
941 11
, & , vICJ , , , PI tr, ,~o ;if ,§r u r crtr , rcr r1113
L 3->
943
944
947
948
949
950 4,• 1 ,1 0r:c re 1'f.F lflc.r, 1. c'r ctr mt 1qr1rr r•aif 1 f.r~
'--3-J
Bbmaj7 Fm7 Bb7 Ebmaj7
951
955
956
957
958
959 '''
1
rt E; Er CJ I J3JJC r'cbr Ir EC'E 1J J,JJ I Jj JJJ,J JoJ I F
1
960
961 ,,u rCmaj7
t
Am7
1Lf r t
Dm7
IF'
G7 Om7
Id D a I r
Dm7 07 Om7
964 41 f r r r Ir r r
4 4~
J Ir J
4
r r Ic..r uu 1r
969 #2
~
u p r P ICJ': tJ:~tr 1 ✓ r ., .J~ w1 1,,J 'r r r 1 u
~4___..J
971 - I J r
972
973 , ; CJ r f ,' , Ji CJ r r 4~
Fm7
Cl JJ II J
974 r
Cm7
975
976 Cm? • I C r Ir rI • ~ er F
Ek D r
l "f!:.
978 c F 0- :t ~.J)
C7 Fm7
rr
-4---J
l,C,.%
,. 0~
=::;J
E.!r lr tft I Bf
Cm7
c c
Om Om
Pre ff f Ir·
Om
Jin. I
98s ,n !atr1uJ'nd.
Eb7 Dm Eb7
□ t 1 r£1E·
Om
cW 1 1
Eb7 Om Eb7 Om
'i
Eb7 Om Eb7 Dm
Eb7 Dm Eb7 Dm
Eb7 Om Eb7 Om
Cmaj7 Dbmaj7
991 ,, ipfrcr1JJWJJJ,
Cmaj7
992 r II
Cmaj7 Dbmaj7
993
Cmaj7
995
# ~ .,._ e_
~r f r~
Dbmaj7
Cmaj7 ~bmaj7
998
INDEX
Essential Licks
Major 7'' .................................................................................. 1-15 (diatonic) 6
16-40 (chromatic) 7
Minor 7"' .................................................................................. 41-55 (diatonic) 10
56-80 (chromatic) 11
Dominant 7" ............................................................................ 81-95 (diatonic) 14
95-120 (chromatic) 15
ii-V-I ........................................................................................ 121-145 (diatonic) 18
146-220 (chromatic) 20
ii-V-i ........................................................................................ 221-240 (diatonic) 28
241-300 (chromatic) 30
ii-V-1-VI .................................................................................. 301-315 (diatonic) 36
316-340 (chromatic) 37
ii-V-i-VI. .................................................................................. 341-355 (diatonic) 40
356-380 (chromatic) 41
1-VI-ii-V .................................................................................. 381-395 (diatonic) 44
396-420 (chromatic) 45
i-VI-ii-V ................................................................................. .421-435 (diatonic) 48
436-460 (chromatic) 49
•
Dorian ...................................................................................... 461-465 (diatonic) 52
466-480 (chromatic) 52
Lydian ..................................................................................... .481-485 (diatonic) 54
486-500 (chromatic) 54
Phrygian ................................................................................. .501-505 (diatonic) 56
506-520 (chromatic) 56
Aeolian .................................................................................... 521-525 (diatonic) 58
526-540 (chromatic) 58
ii-V-1 with Coltrane Substitutions ...........................................541-545 (diatonic) 60
546-560 (chromatic) 60
Stylistic Licks
Swing Progression #1 ............................................................. 561-567 (diatonic) 62
568-580 (chromatic) 62
Swing Progression #2 ............................................................. 581-586 (diatonic) 64
587-600 (chromatic) 64
Bebop Progression #l ............................................................. 601-606 (diatonic) 66
607-620 (chromatic) 66
Bebop Progression #2 .............................................................621-626 (diatonic) 68
627-640 (chromatic) 68
Hard Bop Progression#] ........................................................641-644 (diatonic) 70
645-660 (chromatic) 70
Hard Bop Progression #2 ........................................................661-664 (diatonic) 73
665-680 (chromatic) 73
Post Bop Progression #l ......................................................... 681-684 (diatonic) 75
685-700 (chromatic) 76
Post Bop Progression #2 ......................................................... 701-704 (diatonic) 77
705-720 (chromatic) 77
Non-Harmonic ........................................................................ 721-760 79